Cleveland Art : The Cleveland Museum of Art Members Magazine. Vol. 38 no. 07, September

The
Cleveland

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Cover: This matched set
of rapier and dagger
(Gift of Mr. and Mrs.
John L. Severance
1916.1810, 1916.699) is
among the many daz-
zling objects to be seen
in the refurbished
Armor Court. The guard
of this rapier is richly
decorated with chiseled
and pierced arabesques.
The set was made in
Spain about 1650.

Current Exhibitions

BUDDHIST TREASURES FROM NARA

Gallery 101, through September 27
Objects from one of the great spiritual legacies of Asia, most never before seen in the West
Major funding provided by the E. Rhodes and Leona B. Carpenter Foundation

MARK KLETT PHOTOGRAPHS OF JAPAN: SHIKATA GANAI

Gallery 105, through October 21

Ancient and modern images confront one another in this examination of a complex culture

JASPER JOHNS: PROCESS AND PRINTMAKING

Galleries 109-112, through November 15
Sequential proofs and finished works reveal the methods of an American master
Patron sponsors Sarah and Edwin Roth

FACES AND FACADES: THE CLEVELAND MUSEUM OF ART 1916-1998

SEPTEMBER 1998 2

Lower Level/Education
A history in archival photographs
Patron Sponsors Mary and Leigh Carter

Healing Buddha
(9th century, wood
with traces of
polychromy and
lacquer, Nara
National Museum,
National Treasure)
is one of the
masterpieces in
Buddhist Treasures
from Nara.

CMA

From the Director

Dear Members,

See the new Armor Court first at the members
opening all day on Sunday the 13th and during
the members-only preview week, the 15th to the
17th, before the official public opening (check
the programs and members news sections for de-
tails). Check the center of this magazine for the
pullout section listing five consecutive weekends
of events celebrating the reopening of the Armor
Court. These include performances of Purcell’s
opera Dido and Aeneas (to match our tapestries)
by Apollo’s Fire, a theatrical event exploring the
creative process behind staging Shakespeare’s
Richard III, and scholarly lectures on arms and
armor by some of Europe’s experts. [’m not sure,
but I’d be willing to wager that we have never had
a human chess match or a jousting tournament
on the south lawn before. Your presence is re-
quired.

The opening weekend for the Armor Court
coincides with the annual Chalk Festival (Sat-
urday and Sunday the 19th and 20th), which hap-
pens to be organized around an arms and armor
theme this year. Preparatory workshops are held
the preceding two weeks.

Meanwhile, the Buddhist Treasures from
Nara exhibition is in full swing and is beauti-
ful beyond our expectations. The show, a joint
project of the Nara National Museum and the
Cleveland Museum of Art, under the auspices
of an exhibition exchange program of the Bun-
ka-cho, the Japanese Agency for Cultural Affairs,

brings to Cleveland—and only to Cleveland—
a selection of remarkable works, most of which
have never been seen outside Japan.

Marking the last weekend of September (and
of the exhibition) is a symposium, /nstruments
of Enlightenment as Works of Art, bringing to
Cleveland prominent scholars from Harvard,
Yale, Oberlin, the University of Michigan, and
Boston University to discuss many aspects of
Buddhist art. Registration information is on pages
12 and 13.

To complement the Nara show, John Ewing
has programmed a mini-series of movies to il-
lustrate what “Buddhist film” might look like:
quiet, contemplative, beautiful. Rounding out the
Nara programming is a dance performance by the
acclaimed Maureen Fleming, plus a number of
suest lectures, family activities, and gallery talks.

Finally, on page 14 you will find news of an
exciting new educational initiative at the muse-
um: a volunteer docent program. If you’re inter-
ested in making a serious, enriching commitment
to your museum, I encourage you to apply for this
new program.

Sincerely,

“lat P.@—

Robert P. Bergman, Director

The Armor Court

in an early

installation

The reinstallation
of the Armor
Court is a part of
the Covening the
Community audi-
ence develop-
ment initiative,
made possible by
a grant from the
Lila Wallace-
Reader’s Digest
Fund. Corporate
sponsorship of
the Armor Court
festival is pro-
vided by Giant
Eagle.

SEPTEMBER 1998

The Armor Court

66 am not willing to give up the idea of doing

something with this as I already have our

former court of casts arranged in my mind’s

eye as a court of armor, and wish to make
every possible effort to carry out this scheme,
which I am sure will work out very beautifully.”
So wrote the museum’s first director, Frederic
Allen Whiting, to armor collector Henry Griffith
Keasbey on December 19, 1914—a year and a
half before the museum first opened its doors to
the public. As Whiting wrote these words, his mu-

One type of tournament was fought on foot with

swords and other weapons. Since a barrier be-
tween the knights protected their legs, “half-
armor” became popular. This etched and gilded
steel suit John L. Severance Fund 1996.299.a—h)
was made about 1590 by Pompeo della Cesa, then
4

seum existed only as an excavated site in Cleve-
land’s Wade Oval and as a design on paper. Little
could he have then imagined that his vision of
a court filled with glistening European arms and
armor, set against a backdrop of tapestries, would
become reality. Nor could he foresee that the
character of the space he so specifically defined
would endure to the end of the then-new century.

The installation of an arms and armor
collection, generously funded by Mr. and Mrs.
John L. Severance, would evermore designate the

the most renowned master armorer in Italy, and
would have been worn with colorful puffed and
slashed britches and hose and a bright plume on
the helmet. It is decorated with Pompeo’s classic
etched bands.

CMA

Fashionable across Europe in the late 1500s, the

open-faced helmet known as a morion was char-
acterized by a high comb and swooping brim. This
helmet of etched and gilded russet steel, made in
Nuremberg about 1580-91, was once part of the
equipment of Elector Christian | of Saxony’s
personal guard (Gift of Mr. and Mrs. John L.
Severance 1916.1516). The martial images on the
helmet’s sides are taken from Roman history.

museum’s signature space, the grandest gallery
in the new Beaux-Arts building, as simply the
“Armor Court.” For three successive generations
of Clevelanders, the beloved Armor Court—with
its pale sandstone walls, marble floor, and cool
skylight, so firmly identified with its hallmark
collection of armor and tapestries—represent-
ed the symbolic heart and soul of the Cleveland
Museum of Art.

As we celebrate the reopening of the Armor

Court after a major refurbishment, our fascina-
tion and enchantment with its contents have not
waned. We have come to think of the craft of arms
and armor as a medieval tradition associated
exclusively with the culture of European knight-
hood. The “knight in shining armor” has become
a cultural icon that readily identifies the civili-

zation of the Middle Ages, conjuring images of

chivalrous deeds, of courtly love, of chansons and

troubadour poetry, of tournaments and deeds of

valor. While this romantic dreamscape frequently
overlaps with historic truth, it is often conditioned
by 19th-century fiction and 20th-century film.
In reality, most surviving plate armor is more
properly a product of the Renaissance than the
Middle Ages. About 95 percent of today’s sur-

This “waistcoat” cuirass, made in North Italy
about 1580 (Gift of Mr. and Mrs. John L.
Severance 1916.1721), is a specialized form of
costume armor meant to imitate the civilian
doublet worn by fashionable noblemen of the
Renaissance. The row of brass rivets along the
5

viving armor comes from the period after the
Battle of Agincourt (1415).

The technical and aesthetic perfection of Eu-
ropean armor was achieved during the two cen-
turies between 1450 and 1650. At its zenith, this
armor reached dazzling sophistication of form and
ornamentation. Nevertheless, though much of the
last century’s fictional literature and today’s pop-
ular imagination are replete with myths about
armor, it remains true that the emergence of
the knight, fully clad in plates of steel, toward
the end of the 14th century is indeed a medieval
phenomenon.

Throughout history, arms and armor have
been associated with some of the noblest expres-
sions of human life: bravery, loyalty, self-sacri-
fice, solidarity. Assuming symbolic value, these
functional objects would become artistic creations
in their own right—intended both to embellish
their owner and to provide status and authori-
ty. It was important to an owner that his armor
conform to the same standards of fashionabili-
ty as his civilian dress, reflecting the best work-
manship and materials his means would allow.
From earliest times, arms and armor were con-

sidered worthy of fine design and decoration.

front clearly simulates buttons, and hinges on its
narrow backplate allowed the owner to open it
like an ordinary doublet. It afforded protection to
the upper body and was lightweight, but fash-
ion—not function—was the main requirement.

SEPTEMBER 1998

This crossbow and its winder (called a cranequin),
made about 1553-73 for the Prince Elector of
Saxony, August I, is a masterpiece of Renaissance
decorative arts (Gift of Mr. and Mrs. John L.
Severance 1916.1723.a—b). The crossbow’s walnut
stock is inlaid with engraved bone representations

of trophies, arms, and musical instruments. A variety
of engraved designs also enrich the winder; even its
cranking handle is minutely decorated. Not unex-
pectedly, the winder bears the elector’s coat of arms.
August | was well known for his taste in elaborate
objects, including rare and costly weapons.

Around 1500, armor styles began to depart
radically from the Gothic harnesses and sallets
so highly favored during the second half of the
15th century. In keeping with the new Renais-
sance taste emerging from Italy, German armorers
began to emphasize rounded forms and surface
ornamentation. At the beginning of the 16th
century, three categories of plate armor had been
delineated. The first was armor for field use, or
battle. Field armor was fairly light, averaging from
45 to 65 well-distributed pounds. It was also
strong and maneuverable, with smooth, glanc-
ing surfaces. The second category was highly
specialized armor worn for various forms of the
joust and other sporting combats held at tourna-
ments. Tournament armor was constructed of
heavy, often reinforced plates of steel. A com-
plete suit of tournament armor could weigh more
than 100 pounds. The third category consisted
of parade armor used for ceremonial occasions.
Since this armor was not intended for use on the
battlefield, it was made of thinner and softer
metal, usually lavishly decorated.

The increased use of firearms during the
16th century, in conjunction with new military
field tactics, gradually undermined the impor-
tance of the fully armored warrior in battle.
However, the prestige that fine armor bestowed
upon its wearer was slow to disappear, and
throughout the century armor styles continued
to respond to changes in civilian costume. For

those who could afford it, emphasis shifted to-
6

ward ownership of “dress” or “princely” armors
decorated through various forms of surface or-
namentation and intended principally to convey
rank and authority.

The decoration of both arms and armor
employed virtually all contemporary metalwork
techniques: etching, gilding, damascening, em-
bossing, engraving, even enameling. Such expres-
sions of virtuosity on the part of the armorer and
armor decorator (usually separate individuals)
appealed to Renaissance princes who enjoyed
the means to pay for this costly armor. There
evolved at this time a stock vocabulary of orna-
mental details and motifs, often abstruse, that
came to be used for the decoration of arms and
armor with an ever-increasing sense of extrav-
agance. This ornamental vocabulary ultimately
derived from other branches of Renaissance dec-
orative arts, chiefly goldsmithwork, enameling,
ceramic decoration, and print etching.

Arms decorators and their clients pored over
designs in pattern books originally published for
use by goldsmiths. From the early 16th centu-
ry onward, these books supplied fashionable or-
namentations that could be either copied directly
or used as the basis for a decorator’s own com-
positions. Widely disseminated, pattern books
allowed forms and motifs developed in one coun-
try to be easily spread to others. A constant in-
ternational exchange of artists took place as well.
Several German and Flemish goldsmiths, for
example, worked in Florence at the court of

Cosimo I de’Medici, while Italian artists such as
the famed Benvenuto Cellini were invited to
France.

Metalsmiths have historically played an im-
portant role in the development of decorative
forms and motifs for armor and weapons. At no
time was this relationship more obvious, or more
significant, than during the High Renaissance
of the late 16th and early 17th centuries. Gold-
smiths worked not only with precious metals.
Some, like the Augsburg goldsmith-etcher Daniel
Hopfer, also decorated arms and armor for prince-
ly clients, before turning to print etching. It is
during this period that armor construction saw
the culmination of a trend toward extravagant
richness and the use of costly materials.

This obsession for mannered ostentation
eventually resulted in armors and personal weap-
ons designed for aesthetic and ideological pur-
poses rather than practical use. As the medieval
knightly class gradually transformed into court-
iers, the original function of armor often was en-
tirely forgotten and it instead evolved into
spectacular male body jewelry, trimmed with
plumes and colorful fabrics for parades and pag-
eants. The elaborate armor crafted during the
second half of the 16th century, with its lavish-
ly decorated plates, no longer presented a smooth

glancing surface against a lance or sword.

The history and grandeur of this fascinating
art form are shown to full advantage in the mu-
seum’s beautifully refurbished Armor Court. As

we celebrate its reopening, we honor the spirit
of Frederic Allen Whiting and John L. Severance.
The new design honors their commitment to
service and community. Looking ahead to a new
century, we find that our enchantment with the
“knight in shining armor” has diminished little.

@ Stephen N. Fliegel, Assistant Curator of
Medieval Art

The ornate hilt of this broadsword is chiseled with
foliate scrollwork, leafy grotesque masks, and
what is popularly believed to be the face of King
Charles | of England (beheaded in 1649) (Gift of
Mr. and Mrs. John L. Severance 1916.696). Because
of the image’s resemblance to the king’s death
mask, a group of English swords bearing this like-
ness are commonly referred to as “mortuary
swords.” They appear to have been made for
important individuals during the English Civil War
(1642-51) or the Protectorate of Oliver Cromwell.
This sword (which now has a German replacement
blade made in the early 18th century) is tradition-
ally said to have belonged to Sir Thomas Fairfax, a
prominent general of the Parliamentary cavalry.
Broadswords with large double-edged blades,
designed for heavy cavalry use, were common
from the 17th through 19th centuries.

Jean Le Page (active
about 1779-1822)
held an appointment
to Louis XVI as royal
gunmaker and after
the Revolution
worked for Emperor
Napoleon Bonaparte,
who commissioned
this double-barreled
flintlock sporting gun
(Gift of David S.
Ingalls 1966.433).
Dated 1809 and
made of walnut and
blued steel with sil-
ver and gilding, the
gun is signed by Le
Page on the barrel
and bears the impe-
rial monogram N (for
Napoleon) in two
locations. It was ap-
parently presented as
a gift by the emperor
to Vincent Corvin
Graf von Krasine-
Krasinski, a Polish
count.

SEPTEMBER 1998

Home Sweet Home

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n the late 1970s Jennifer Bartlett under-

took a series of paintings of houses, essen-

tially portraits of friends, using their

addresses as titles. Graceland Mansion,
a 1977 painting in five sections, however, was
named for Elvis Presley’s legendary home—a
tribute to Bartlett’s childhood idol, who died while
she was working on the piece.

A set of prints made during the next two
years relate to the Graceland painting. Five sheets
hung in horizontal sequence each portray an
image of the same simplified house, but in dif-

ferent positions. In both the painting and the
prints, the house has been rotated a quarter turn
in each successive image. Shadows mark the
sun’s diurnal cycle, with light first cast from the
left at dawn and during the morning, then from
overhead at noon, and finally from the right in
the afternoon and at dusk. The shapes and di-
rections of the shadows cast by the simply shaped
house, the saturation of color, and the optical
densities of the forms all imply movement and
the passage of time, a recurring theme in
Bartlett’s work.

ay

Bartlett provides a mini-history of modern art in
Graceland Mansion, from 1978-79 (Norman O.
Stone and Ella A. Stone Memorial Fund
1997.143.1-5). The five sheets (each 60.8 x 60.9
cm) represent five different printmaking tech-
niques: drypoint and aquatint (upper left and
right), screenprint and woodcut (lower left and
right), and lithograph (facing page).

CMA

Five different printmaking techniques—one
for each print—combine to mimic a variety of
historical artistic styles. Drypoint is used for a
neat pointillist pattern of dots, screenprint takes
advantage of that medium’s ability to print lay-
ers of solid, brightly colored dabs, and lithography
lends itself to freely executed, expressionistic
marks. In this systematic examination of a simple
motif, the drawing ranges from impersonal and
mechanical to spontaneous and gestural.

The same rudimentary motif of the house re-
appears in the museum’s 1984 multimedia work

by Bartlett, Sunset and Concrete Dock. The house
is now a flat red shape in the foreground of a
moody, atmospheric landscape (a fiery sunset il-
luminates the background), painted with richly
textured brushwork. A three-dimensional rep-
lica placed in front of the canvas echoes the image
of the house. Three slabs of concrete and a yel-
low construction complete the environment, pro-
voking a dialogue between the illusionary world
of the painting and the real world of the viewer.

The adventurous and inventive Bartlett is
one of the most imaginative American artists of
her generation. Using common symbols, she has
created engaging, lyrical, and decorative works
of art in many media.

Mi Jane Glaubinger, Curator of Prints

To glean the essence of a subject, Bartlett recasts
its image in many variations. A good example is
her 1984 Sunset and Concrete Dock John L.
Severance Fund 1985.206), which combines an oil
painting (330.5 x 213.3 cm) with painted wood
constructions and concrete rectangles.

Film

Zen and the Art

of Meditative Moviemaking
What would Buddhist cinema look
like? Probably something like
seven of the films showing this
month, which are quiet and con-
templative with a measured pace
and a dearth of dramatic highs and
lows. If this be monotony, there yet
is method in it: these unemphatic
narratives, enhanced by images of
breathtaking beauty, cast a mes-
merizing spell, suggesting the on-
going cycle of birth, death, and re-
generation and giving the viewer
the time and space to ponder eter-
nal verities. Five of the seven films
are Japanese and show on Wednes-
day nights; the other two, screening
Friday nights, come from Korea
and the U.S. The series is bookended by two
wise and serene family dramas by the great
Yasujiro Ozu (Late Spring, the 2nd, and its
color remake, An Autumn Afternoon, the
30th), with works by other masters (Bae
Yong-Kyun’s Why Has Bodhi-Dharma Left for
the East?, the 4th; Hirokazu Kore-eda’s
Maborosi, the 9th; Martin Scorsese’s Kundun,
the 11th; Kenji Mizoguchi’s The Life of Oharu,
the 16th; and Kon Ichikawa’s The Burmese
Harp, the 23rd) in between.

September Events

The month’s other two films complement the
grand reopening of our restored Armor
Court. The Court Jester (the 18th) is a com-
edy starring Danny Kaye; Les Visiteurs du Soir
(the 25th) is a French medieval fantasy from
the makers of Children of Paradise. Each film
$3 CMA members, $6 others.

Above: Director Martin Scorsese turned a lot of
heads with last year’s uncharacteristcally placid
film, Kundun, showing Friday the 11th.

1 Tuesday

Highlights Tour 1:30 CMA Favorites

Maureen Fleming has dazzled audiences
around the world with her singular form
of multimedia, Butoh-inspired perfor-

2 Wednesday

Gallery Taik 1:30 Buddhist Treasures

from Nara. Joellen DeOreo

mance. Fleming’s Tara is created in con-
junction with the museum’s Buddhist
Treasures from Nara exhibition. Music by

SEPTEMBER

1998

Film 7:00 Late Spring Japan, 1949,
b&w, subtitles, 107 min.) directed by
Yasujiro Ozu, with Chishu Ryu and
Setsuko Hara. Lovely drama in which a
widower living comfortably with his duti-
ful daughter encourages her to marry,
leave home, and begin her own life. $3
CMA members, $6 others

Dance 8:00 Maureen Fleming’s Tara. An
American choreographer born in Japan,

10

Philip Glass and Somel Satoh with live
solo piano performed by Peter Philips.
Tickets, $20, $10 CMA members, are
available at the museum ticket center.
Early reservations recommended

3 Thursday

First Thursday Curatorial consultation
for members only, by appointment
Highlights Tour 1:30 CMA Favorites

4 Friday

Highlights Tour 1:30 CMA Favorites
Indoor Garden Court 6:00-8:30 Mark
Gridley Trio with bistro fare

Guest Lecture 6:30 Journeying to Para-
dise: Japanese Gardens and Paintings.
Elizabeth ten Grotenhuis, Boston University
Film 7:00 Why Has Bodhi-Dharma Left
for the East? (Korea, 1989, color, sub-
titles, 135 min.) directed by Bae Yong-
Kyun. An old master, his young disciple,
and an orphan boy struggle in a remote
monastery in the mountains of Korea. $3
CMA members, $6 others

5 Saturday

Japanese Family Festival 1:00-4:30.
Learn about Japanese culture. Hands-on
art activities, plus lectures and demon-
strations. Presented by the Japanese
Language School of Cleveland
Highlights Tour 1:30 CMA Favorites

6 Sunday
Highlights Tour 1:30 CMA Favorites

8 Tuesday
Highlights Tour 1:30 CMA Favorites

Fe

ih
]
i

September Events

Musique D’Armor

Two Armor Court Reopening Concerts highlight the
month. Early Music from Spain and Latin America
is Friday the 18th at 7:30, with Miisica Ficta, a Colom-
bian ensemble dedicated to the performance of Baroque
Spanish and early Latin American music. The following
weekend, the Baroque orchestra Apollo’s Fire performs
Henry Purcell’s Opera Dido and Aeneas with set
and costume design assistance from Toronto’s Opera
Atelier. There are two shows, Friday and Saturday the
25th and 26th at 7:30. Tickets, $22—-$26 with discounts
for museum members and senior citizens, are available
through the ticket center. A free Interdisciplinary Lec-
ture precedes each Apollo’s Fire concert at 6:30, when
Oberlin’s Stephen Plank talks about Henry Purcell and
the museum’s famous Dido tapestries, on view in the re-
stored Armor Court.

The 1998-99 20th-anniversary Gala Music Series
features outstanding performances by internationally ac-
claimed soloists and ensembles on Wednesday evenings
from fall through spring. Contralto Ewa Podleé, the
American String Quartet, the early music trio Legéne,
Gibbons, and Kuijken, pianist Yakov Kasman, baritone
Christoph Prégardien, Nexus (percussion ensemble), vio-
list Kim Kashkashian with pianist Robert Levin, and
Quatuor Mosaiques are among the outstanding musicians
who will appear during the season. Call the ticket center
to subscribe today.

Admission to musical arts programs is free, unless
otherwise indicated. Complete program details appear in
the daily listings and are subject to change. Recorded se-
lections from museum concerts air Monday evenings from
10:00 to 11:00 on WCLV (95.5 FM). For information
about any of the preceding programs, please call ext. 282.

Apollo’s Fire

9 Wednesday

Highlights Tour 1:30 CMA Favorites
Guest Lecture 6:30 Constructing Bud-
dhas: Technique and Technology in
Japanese Sculpture. Mimi Hall
Yiengpruksawan, Yale University
Lecture 7:00 /ntroduction to Print Col-
lecting. Jane Glaubinger, Curator of
Prints

Film 7:00 Maborosi Japan, 1995, color,
subtitles, 110 min.) directed by Hirokazu
Kore-eda. Exquisite, serene account of a
young widow’s quest to understand the
reasons behind her husband’s apparent
suicide. $3 CMA members, $6 others
Chalk Workshop I 7:00-8:30. Plan to
attend both sessions. In week one, make
your own chalk, adapting an Old World
recipe to New World materials; in week
two, learn professional street painting
techniques. Register for $15/individual,
$35/family. Children under 15 must regis-
ter and attend with someone older. Fee
includes materials and reserves chalk and
a square for the festival. Call ext. 483

10 Thursday

Adult Studio Class Begins 9:30-noon.
Clay. 8 Thursdays, September 10 to Oc-
tober 29. Mark Sugiuchi leads a ceramics
class. $100 CMA members, $135 others,
includes materials. Call ext. 461
Highlights Tour 1:30 CMA Favorites

11 Friday

Highlights Tour 1:30 CMA Favorites
Indoor Garden Court 6:00-8:30 Due
Cellisti with bistro fare

Film 7:00 Kundun (USA, 1997, color,
some subtitles, 135 min.) directed by
Martin Scorsese. Breathtakingly beautiful
epic account of the turbulent early life of
the 14th Dalai Lama and Tibet's struggles
with China. $3 CMA members, $6 others

12 Saturday

Adult Studio Class 10:30-4:00. Al/-day
Drawing Workshop. Intensive class led by
Sun Hee Choi. The fee of $20 for CMA
members ($40 nonmembers) includes
materials and parking. Call ext. 461 to
register by September 11

Highlights Tour 1:30 CMA Favorites
Armor Court Benefit (so/d out)

13 Sunday

Armor Court Members Opening
10:00-5:00. $10 members, $5 children,
$14 nonmember guests, $7 nonmember
children (timed entry into Armor Court.
Lecture by Stephen Fliegel at 1:00 (ticket
required). Call the ticket center

One World Day 12:00-5:00 in
Rockefeller Park. Multicultural festival
includes CMA-led workshops and a ban-
ner parade.

Highlights Tour 1:30 CMA Favorites

15 Tuesday

Armor Court open to members all day
Gallery Talk 1:30 Armor Court. Jonathan
Kline

16 Wednesday

Armor Court open to members all day
Adult Studio Class Begins 9:30-noon.
Watercolor. 10 Wednesdays, September
16 to November 18. Jesse Rhinehart
leads an intensive class. $100 CMA mem-
bers, $135 others, includes some materi-
als. Call ext. 461

Gallery Talk 1:30 Armor Court. Jonathan
Kline

Lecture 7:00 Vulcan’s Forge: The Culture
of Arms in Medieval and Renaissance
Europe. Stephen Fliegel, Assistant Cura-
tor of Medieval Art

Film 7:00 The Life of Oharu (Japan,
1952, b&w, subtitles, 137 min.) directed
by Kenji Mizoguchi, with Kinuyo Tanaka
and Toshiro Mifune. Stunningly pictorial
account of a 17th-century woman’s
descent from court woman to common
prostitute. Mizoguchi, the great master,
regarded this movie as his masterpiece.
$3 CMA members, $6 others

Chalk Workshop II 7:00-8:30. See
Wednesday the 9th for details

Guest Lecture 7:30 Aluminum and Mod-
ern Design: From Jewelry to Jets. Sarah
Nichols, Chief Curator and Curator of
Decorative Arts, Carnegie Museum, Pitts-
burgh. Sponsored by the Trideca Society.
Free for Trideca members, $10 guests

17 Thursday

Armor Court open to members all day
Gallery Talk 1:30 Armor Court. Jonathan
Kline

September Events

Education Programs:
Armor Court Opening and
Nara Symposium Featured

The Five-week Celebration of the Reopening of
the Armor Court is described thoroughly in the pull-
out insert included in this magazine; not all events are
in these listings, so please refer to the insert for details.

A Nara Symposium takes place the last weekend
of the month, with a special Free Keynote Lecture
Friday evening the 25th at 6:30, The Japanese Buddhist
Image: Magic, Power, and Art, by Harvard’s John M.
Rosenfield. The symposium itself, Instruments of En-
lightenment as Works of Art, is all day Saturday the
26th. Tickets are $20, $10 for members and students. A
box lunch is $17. To register call the ticket center (lim-
ited seating). Details are in the daily listings.

The month brings Eight Guest Lectures: On F'ri-
day the 4th at 6:30 is Journeying to Paradise: Japanese
Gardens and Paintings, by Elizabeth ten Grotenhuis of
Boston University. Wednesday the 9th at 6:30, Yale’s
Mimi Hall Yiengpruksawan offers Constructing Bud-
dhas: Technique and Technology in Japanese Sculpture.
Wednesday the 16th at 7:30, Sarah Nichols from the
Carnegie Museum in Pittsburgh presents Aluminum and
Modern Design: From Jewelry to Jets (sponsored by the
Trideca Society). Wednesday the 23rd at 7:30, Wendy
Weitman from the Museum of Modern Art offers Jasper
Johns: Process and Printmaking (sponsored by the Print
Club). Sunday the 27th at 2:00 is They Didnt Use
Cranes: Facts and Fallacies of Arms and Armor, by
Walter J. Karcheski, Jr., from the Higgins Armory Mu-
seum in Worcester, MA; and later that day at 3:30, art-
ist Susan Rothenberg talks about her work (cosponsored
by the Society for Contemporary Art; tickets required).

We offer Staff Lectures as well. Wednesday the
Oth at 7:00, curator of prints Jane Glaubinger presents
Introduction to Print Collecting. Wednesday the 16th at
7:00, Stephen Fliegel, assistant curator of medieval art,
offers Vulcan’s Forge: The Culture of Arms in Medieval
and Renaissance Europe.

Thematic Gallery Talks or Highlights Tours
leave from the main lobby at 1:30 daily (topics in list-
ings). A new Video title begins each Sunday in AV 1.

Leading off the month on
Wednesday the 2nd is a Nara-
related Dance Performance
at 8:00, with Maureen Fleming’s
Tara, exploring themes of rein-

carnation, non-duality, transfor-

mation, and transcendence, with
music by Philip Glass and Somel
Satoh. Tickets are $20, $10 CMA
members, available at the ticket
center. Pick up a Nara Programs
Brochure at the museum.

18 Friday

Armor Court Festival See pu//out
Gallery Talk 1:30 Armor Court. Jonathan
Kline

Film 7:00 The Court Jester (USA, 1956,
color, 101 min.) directed by Norman
Panama and Melvin Frank, with Danny
Kaye, Glynis Johns, and Basil Rathbone. A
medieval clown gets caught up in palace
intrigues in this hilarious movie. $3 CMA
members and kids 12 & under, $6 others
Early Music 7:30 Musica Ficta in its CMA
debut presents Romances and Villancicos
from Spain and the New World. Artistic
director Carlos Serrano is joined by Juan
Carlos Arango, Leonardo Cabo, Leonor
Convers, Jairo Serrano, Daniel Zuluaga,
and Santiago Zuluaga. The repertory of
this 10-year-old Colombian ensemble is
based on Baroque Spanish music and
early music from the New World. They
use replicas of original instruments, re-
specting original performance practices

19 Saturday

Armor Court Festival See pullout

9th Annual Chalk Festival 1 1:00-4:00.
Watch for free, or participate by renting
a square of pavement (small square and
12 colors of chalk, $5; large square and
24 colors of chalk, $10). Call ext. 483
Highlights Tour 1:30 CMA Favorites

20 Sunday

Armor Court Festival See pu//out

9th Annual Chalk Festival 11:00—4:00.
See yesterday’s listing

Highlights Tour 1:30 CMA Favorites
Family Express 3:00-4:30 The Buddha's
Hands. Learn the meanings of mudra
hand signs in a free drop-in workshop

“A sensational
discovery. . .
rare aesthetic
emotion”
—La Republica

22 Tuesday
Gallery Talk 1:30 Armor Court. Jonathan
Kline

23 Wednesday

Gallery Talk 1:30 Buddhist Treasures from
Nara. Joellen DeOreo

Guest Lecture 7:00 Jasper Johns: Process
and Printmaking, Wendy Weitman, MOMA;
sponsored by the Print Club

Film 7:00 The Burmese Harp (Japan,
1956, b&w, subtitles, 116 min.) directed by
Kon Ichikawa. At the end of WWII, a Japa-
nese soldier turns Buddhist monk and stays
behind to bury the dead in this lyrical anti-
war film. $3 CMA members, $6 others

24 Thursday

Members Walk-in Registration 10:00-—
4:00 Museum Art Classes

Gallery Talk 1:30 Buddhist Treasures from
Nara. Joellen DeOreo

25 Friday

Armor Court Festival See pullout
Members Walk-in Registration 10:00-
4:00 Museum Art Classes

Gallery Talk 1:30 Buddhist Treasures from
Nara. Joellen DeOreo

Lecture 6:30 Oberlin’s Steven Plank gives
a free preconcert lecture about Henry
Purcell’s opera Dido and Aeneas and the
museum’s famous Dido tapestries, on view
in the restored Armor Court

Symposium Keynote Address 6:30 The
Japanese Buddhist Image: Magic, Power,
and Art. John M. Rosenfield. Free

Film 7:00 Les Visiteurs du Soir (The Devil's
Envoys) (France, 1942, b&w, subtitles, 110
min.) directed by Marcel Carné, with
Arletty, Alain Cuny, and Jules Berry. Three
years before their immortal Children of
Paradise, writer Jacques Prévert and di-
rector Carné collaborated on this enchant-
ing (and subversive) medieval fantasy in
which the Devil meddles in human affairs.
$3 CMA members, $6 others

Baroque Opera 7:30 Apollo's Fire pre-
sents Dido and Aeneas. Jeanette Sorrell
leads the award-winning Baroque orches-
tra in Henry Purcell’s opera Dido and
Aeneas with set and costume design by
Toronto's Opera Atelier. Tickets (at the
ticket center) $22-$26 with discounts for
museum members and senior citizens

Family Fun and Hands-on Art

September Events

A Japanese Family Festival is Saturday the
5th, 1:00-4:30. Learn about Japanese culture
with hands-on activities for all ages, plus lec-
tures and demonstrations. Presented by the
Japanese Language School of Cleveland.

One World Day is Sunday the 13th,
12:00—5:00, in Rockefeller Park; the festival
includes CMA-led workshops and a banner
parade.

The 9th Annual Chalk Festival is Sat-
urday the 19th and Sunday the 20th, 11:00-
4:00 both days. Chalk your own picture,
watch professional chalk artists and commu-
nity groups at work, and enjoy tasty food and
live entertainment. This year’s chalk festival
celebrates the reopening of the Armor Court.
Participate by renting a square of pavement
(small squares and a 12-color box of chalk
cost $5; large squares are $10 with a 24-color
box of chalk). Sign up when you arrive or call
ext. 483 to reserve a space (no calls taken af-
ter Wednesday the 16th). Advance reserva-
tions held until 1:00 Sunday. Chalk Work-
shops are Wednesdays the 9th and 16th,
7:00-8:30. Plan to attend both sessions: in
week one you'll make your own chalk, then in
week two you'll learn various professional

street painting techniques.
Register for $15/indi-
vidual, $35/family. Chil-
dren under 15 must regis-
ter and attend with some-
one older. Fee includes
materials and _ reserves
chalk and a square for the
festival. Pick up a detailed
flyer in the lobby.

On Sunday the 20th
from 3:00 to 4:30 is this
month’s free drop-in Fam-
ily Express, The Buddha’s Hands. Learn the
meanings of hand signs called mudras. Fami-
lies can create a handbook full of symbols to
euide them through the galleries.

Hands-on Art: On Saturday the 12th,
10:30 to 4:00, is the monthly All-day Draw-
ing Workshop (fee: call ext. 461 to register by
September 11). Three Adult Studio Class
sessions begin: Clay with Mark Sugiuchi,
eight Thursdays 9:30-noon starting the 10th;
Jesse Rhinehart’s Watercolor, 10 Wednesdays
9:30—noon starting the 16th; and Rhinehart’s
Drawing, eight Wednesdays 1:00-3:30 start-
ing the 30th (fees for all; see daily listings).

26 Saturday

8:15 Registration and coffee

Nara Symposium 8:30-4:00 /nstruments
of Enlightenment as Works of Art. Tick-
ets are $20, $10 for members and stu-
dents. To register call the ticket center

1:00 How to Worship a Buddhist Icon.
Robert H. Sharf, Associate Professor of
Buddhist Studies, University of Michigan,
Ann Arbor

2:00 Break

2:15 Bodily Gifts and Spiritual Pledge:

9:00 Welcome. Robert P. Bergman, Di-
rector; Michael Cunningham, Curator of
Japanese and Korean Art

9:15 Behold the Icon, Hear Its Story: Be-
yond Aestheticism in Japanese Buddhism.
James C. Dobbins, Associate Professor of
Religion and East Asian Studies, Oberlin
College

10:15 Break

10:30 Place of Art in Buddhist Worship.
Mimi Hall Yiengpruksawan, Associate
Professor of Japanese Art, Yale University
11:30 Lunch. Museum Cafe (a la carte)
or box lunch ($17 upon registration)

13

Human Hair in Japanese Devotional Em-
broideries. Elizabeth ten Grotenhuis,
Professor of Asian/Japanese Art, Boston
University

3:15 Panel Discussion. Moderator

John M. Rosenfield, Abby Aldrich
Rockefeller Professor of Asian Art Emeri-
tus, Harvard University

Armor Court Festival See pullout
Highlights Tour 1:30 CMA Favorites
Interdisciplinary lecture 6:30 Stephen
Plank. See yesterday's listing

Baroque Opera 7:30 Apollo’s Fire pre-
sents Dido and Aeneas. Tickets required.
See yesterday’s listing

27 Sunday

Armor Court Festival See pu//out
Gallery Talk 1:30 Buddhist Treasures
from Nara. Michael Cunningham
Guest Lecture 2:00 They Didn't Use
Cranes: Facts and Fallacies of Arms and
Armor. Walter J. Karcheski, Jr., Curator
of Arms and Armor, Higgins Armory
Museum, Worcester MA

Guest Lecture 3:30 Susan Rothenberg
discusses her art. Cosponsored by the
Contemporary Art Society ($5, $2 students,
members free; at the ticket center)

29 Tuesday
Highlights Tour 1:30 CMA Favorites

30 Wednesday

Adult Studio Class Begins 1:00-3:30
Drawing. 10 Wednesdays, September 16
to November 18. Jesse Rhinehart leads
an intensive class, working from still-life
and live models. $80 CMA members, $110
others, includes materials. Call ext. 461
Highlights Tour 1:30 CMA Favorites
Film 7:00 An Autumn Afternoon (Japan,
1962, color, subtitles, 112 min.) directed
by Yasujiro Ozu, with Chishu Ryu. Ozu’s
final film tells a familiar tale of a father
who marries off his only daughter. A
final, major work by one of history's
greatest and most unique filmmakers.
$3 CMA members, $6 others

Left: Detail of Kashimadachi Shineizu
(Shinto Deities Departing from
Kashima Shrine), late 74th century,
hanging scroll: ink and color on silk,
140.6 x 40.2 cm

Parma Students Lead Tours

“It was definitely one of the proudest moments | have
had,” said Maria Borelli, senior at Valley Forge High
School, of her stint as a CMA proto-docent. “The people
at the museum were so friendly and helpful and the
people from our community were so supportive.”

Parma teens from Valley Forge High School be-
came Gallery Guides for Parma Day in April, adding a
brand new perspective to CMA art. In a special interdis-
ciplinary project combining English, studio art, and
history, 22 students researched and wrote gallery pre-
sentations on CMA art and worked with our staff to learn
about the museum and gallery teaching techniques. The
resulting talks focused on new angles: the students
dressed in costume to present American colonial por-
traits, Impressionism was team taught, and the new
Andy Warhol painting became the focus for a studio art
project on contemporary portraits.

This special project originated with Valley Forge
teacher (and ex-education department member) Andrea
Harchar, who enlisted fellow Valley Forge teachers
Karen Fulop, Gail Daley, and Bill Van Jura and sup-
port from the Parma City Schools administration. The
students received credit for their efforts and the mu-
seum benefited from exciting gallery tours, filled to
overflowing with other teens, parents, and interested
visitors. “When I saw what a huge crowd we had,” said
Michelle Bolin, “I was thrilled. I would be sharing my
knowledge of art with people from my community and
helping the museum at the same time.” The students
were invited to return to offer reruns of their tours and
a new program idea was born.

Congratulations as well to Bev Reid, who won the
free membership given away during Parma Day festivi-
ties in April.

Armor Court
Preview Week

“Art To Go” Field
Testing Begins

Sunday, September 13 is Armor Court
Members Preview Day (kicking off a
members-only preview week), 10:00-
5:00 Tickets are $10 members, $5.00
children, $14 nonmember guests, $7
nonmember children. A lecture by
Stephen Fliegel is at 1:00 (ticket re-
quired). On Tuesday, Wednesday, and
Thursday the 15th to 17th, the Armor
Court is open for members only from
10:00 to 5:00 (and until 9:00 on Wednes-
day). Don’t forget your membership card.
No tickets needed on Tuesday, Wednes-
day, or Thursday.

Take Note

The Art To Go program is a new educa-
tion department initiative to take works
of art into the community from the Art
To Go collection (comprised of works
from the former extensions collection).
Volunteers will teach using selected
works of art in classrooms and commu-
nity agencies. The Art To Go training
program begins September 1 and runs
through December 30, 1998. The Art To
Go pilot program has been funded by a
grant from Eaton Corporation.

For further information, contact
Claire Rogers, coordinator of teacher and
school services, at ext. 480.

Docent Program

The museum’s second satellite store
location opened this summer at Cleve-
land Hopkins International Airport, in the
mall between concourses C and B. The
Art Museum Store at the Airport of-
fers an unusual selection of high-quality
gifts, publications, and toys. Open 8:00 to
8:00 daily, the new store will also supply
information on events at the museum.

On Friday Evenings through Janu-
ary, join us in the garden court for live
music and bistro fare from 6:00 to 8:30.

We are arranging a Members-only
Day Trip to the National Gallery of Art
in Washington, D.C. in late October to
see the special exhibition Van Gogh.
More details in the October Members
Magazine. Call ext. 589.

The Trideca Society is sponsoring a
talk titled Aluminum and Modern Design:
From Jewelry to Jets by Sarah Nichols,
chief curator and curator of decorative
arts at the Carnegie Museum of Art in
Pittsburgh, Wednesday the 16th at 7:30.
Trideca Society members are admitted
without charge. Guests are welcome to
attend at a charge of $10 each.

Pick up a copy of the 1997 Annual
Report at the museum. If you live more
than 50 miles away, call ext. 268 and
we'll mail one to you.

Watch for details about an Estate
Planning Seminar on Wednesday,
October 21 at 5:30.

Beginning January 1999, the education
department invites you to join In an excit-
ing new volunteer opportunity—teaching
in the galleries and providing tours of the
permanent collection. Be part of the
First-ever Docent Program in the his-
tory of the museum, a unique continuing
education opportunity to learn about the
collection from the education and cura-
torial staff, and to make a vital contribu-
tion to our teaching programs. The pro-
gram requires a four-year commitment:
one year of training followed by three
years of teaching. The training require-
ments include 1% days of classes weekly
from January to May and then Septem-
ber to December, 1999. The three-year
docent teaching commitment includes
teaching two hours per week during the
school year plus occasional weekend or
evening hours.

A general information meeting will be
held on Tuesday, September 15, at 1:00
in the recital hall; or for further informa-
tion and applications, call Barbara
Kathman, coordinator of docents and
interns, at ext. 490. Leave your name
and address and information will be sent
to you.

Members News

Giving Back to Our Members: Gift Annuities

The Charitable Gift Annuity is one of the oldest and simplest
ways to receive guaranteed income for life and make a substantial
gift to the museum. Here’s an example of how it works:

Mr. and Mrs. Roberts give $50,000 to the museum for a
charitable gift annuity. The arrangement obliges the museum to
pay Mr. and/or Mrs. Roberts quarterly fixed income payments for
life, with the amount determined by their ages. Based on their
ages (both are 75 when they establish the annuity), their annuity
rate is set at 7.3 percent, and so they receive a fixed amount ev-
ery year of $3,650. Ordinarily, part of the payment is tax-free.
Payments continue to the survivor for life even after one of them
is gone.

The museum offers gift annuities to its members because of
the many benefits they provide:

* quick and easy to establish, very flexible

* income tax charitable deduction

* partially tax-free income payments for life

* ouaranteed quarterly payments

* option to choose the recipient of the payments

* reduced taxable estate

* reduced capital gains taxes if giving appreciated stock

For example, Mrs. Brown, age 80, decides to use $40,000 to
create a one life annuity that will provide income to herself. Mrs.
Brown will receive a current charitable income tax deduction for
$19,353. Her rate of return is 9.2%, giving Mrs. Brown yearly
lifetime income of $3,680. An added benefit of the annuity is that
$2,196.96 of the payments will be tax free until 2008.

To establish a gift annuity, you donate cash or stock and the
museum sends quarterly fixed-income payments for life. There are
two types of charitable gift annuities: immediate and deferred.
Both may be set up for one life or two. A deferred annuity will not

begin payments until some future date of your choosing. These
are best for younger donors who want the income tax deduction,
but desire the income for their retirement years. The longer the
deferral period, the higher the annual payment. And even though
the donor may not receive payments from the annuity for several
years, the income tax charitable deduction is available for the
year in which the gift is made.

The Cleveland Museum of Art’s gift annuity program is
loaded with benefits. For more information, use the reply form
below or call Senior Planned Giving Officer Karen L. Jackson at
ext. 585 and she will send you a personalized illustration includ-
ing detailed tax information. All inquiries are confidential and
place you under no obligation.

CLIP AND MAIL

Please send more information about charitable gift annuities. Place com-
pleted form in an envelope and mail to Karen L. Jackson at The Cleve-
land Museum of Art, 11150 East Boulevard, Cleveland, Ohio 44106.

You may also fax this form to 216-231-6565 or contact Karen Jack-
son by e-mail at jackson@cma-oh.org.

Please contact me by phone: ( ) =

The best time to reach me is

Name

Address

City State Zip

Wy

The Cleveland Museum of
Art receives partial funding
from the Ohio Arts Council,
a state agency created to
foster and encourage the
development of the arts and
to preserve Ohio’s cultural
heritage. Funding from the
OAC is an investment of
state tax dollars that
promotes economic growth,
educational excellence, and
cultural enrichment for all
Ohioans.

The museum is also

the recipient of a General
Operating Support grant
from the Institute of
Museum and Library
Services, a federal
agency. IMLS grants are
awarded to cultural
institutions that demon-
strate outstanding perfor-
mance in all areas of
Operations.

CMA

What’s Ahead

Watch Karel’s Feet

Middle-Age Kids

Cleveland Collects Contemporary Art
iS Our next major show, bringing together
about 70 works, all made since 1982,
from area private and corporate collec-
tions. Included will be works by the most
influential artists working today, locally,
nationally, and internationally—as well as
a selection by lesser-known artists whose
work has attracted local collectors. The
free exhibition runs for nine weeks, No-
vember 8 to January 10. Details about a
related symposium on November 14, /t
Figures, will be published in the October
magazine.

15

Reminder to all music lovers: the dedica-
tion of the McMyler Memorial Organ

Stage Console is on October 11 at 2:30.

Curator of Musical Arts Karel Paukert
will open his 25th anniversary season
with the dedicatory recital featuring
works by J. S. Bach, Mobberley, Ligeti,
Alain, and Sowerby. The new console
allows the organist to perform from the
Stage instead of the loft. Now audiences
can see more than the back of the
performer's head: face, arms, hands.
You can even see his feet.

Jousting Suit, South Germany, c.
1530-60, steel, Gift of Mr. and Mrs.
John L. Severance 1916.1517

Hark Ye Madri-gals and Madri-guys!
October 6 is the registration deadline for
Medieval Magic and

Merriment, a special
children's party hosted by
the CMA Womens
Council on Saturday,
October 17. Enjoy a
magic show, a raffle,
crafts, an educa-
tional treasure hunt, & &
and light supper. The
early evening time is
perfect for kids ages 4 to
10. Tickets $25. For reser-
vations, call Jackie
Anselmo at ext. 151.

Members Magazine (|SSN 0890-6084)

Vol. 38 no. 7, September 1998. Published monthly
except July and August by the Cleveland Museum
of Art at Cleveland, Ohio 44106

Editing and design: Barbara J. Bradley, Kathleen
Mills, Laurence Channing, and Gregory M. Donley
Photography: Howard T. Agriesti,

Gary Kirchenbauer, and Gregory M. Donley

POSTMASTER: Send address changes to the
Cleveland Museum of Art Members Magazine at
the Cleveland Museum of Art, Cleveland, Ohio
44106. Subscription included in membership fee.
Periodicals postage paid at Cleveland, Ohio

The Cleveland Museum of Art
11150 East Boulevard in University Circle
Cleveland, Ohio 44106-~1797

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10:00-—5:00
Wednesday, Friday
10:00-9:00

Closed Mondays,
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December 25, and
January 1

Café: Closes one hour
before museum

Ingalls Library
Members Hours
(ages 18 and over)
Tuesday and Thursday
10:00-6:00

Wednesday 10:00-—9:00

Friday 10:00-6:00
Saturday 10:00-—5:00
Slide Library by
appointment only

Listen to the lilies

Print Study
Room Hours
Tuesday—Friday
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Ticket Center bers); call 421-7350
Tuesday and Thursday or, outside the 216
10:00—5:00; Wednes- area code,

day and Friday 10:00- 1~888-—CMA-0033
8:00; Saturday and

Sunday 10:00-5:00.

$1 service fee per

ticket for phone

Design your own tour.

Go at your own pace.

The new Sight & Sound CD
Audio Tour features more
than 250 works from the
museum collection. Simply
enter the “Sight & Sound”
number from the gallery
label and hear all about it.
Free for CMA members,

$3 students and seniors,

$4 others. ID required. At
the ticket center.

Self Guided Audio Tour